The String Festival is open to any student of an AUSTA member. To become a member please visit www.austa.asn.au

Date and Time
On Sunday 23 June 2019 at 9:00am. Sessions will run between 9am and 4pm. Players will be advised of their session time 1-2 weeks in advance and registration will be 1/2 an hour prior to their allocated time.

Entry Fee

There is a common view that teaching in groups is inferior to individual instruction. In many respects this seems a straight forward case as attention of the teacher needs to be divided and developmental differences may be prohibiting proper and careful directions. However, there are also arguments which make a case for group teaching. In some contexts, group teaching is the only way a student can gain any instruction, at least initially. In addition, groups present opportunities which we do not find in one-on-one teaching contexts. The development of a performer culminates in public performance, yet most of the teaching towards that end is “private.” I will try to discuss how one-on-one teaching can inhibit development and outline a methodological framework for group settings. In the second part of the seminar I will demonstrate with a small group of students how we can effectively use group classes to progress learning and artistic development effectively.

https://www.eventbrite.com.au/e/string-forum-the-opportunities-of-group-teaching-tickets-46062516226

A discussion on the necessity and timing of the transition from intuitive to technically informed and analytical playing. A full understanding of every aspect of cello playing allows freedom of expression and produces professionals who work with efficiency and accuracy. How and when do we introduce advanced concepts to young musicians while not overwhelming or boring them?

Frequently teaching assumes that teachers and students are engaged in a process of construction: plans are realised step by step as in the construction of a house. We refer to this construction and the skills as “technique”. In this seminar I will argue that such a view is highly problematic and may be responsible for dead ends in our work with students. If we remember that musical performance and interpretation is a doing and not a making (no product is enduringly made), the entire approach to teaching and learning is transformed. We no longer teach a pre-existing technique but assist the student to clarify ideas and intuitions and assist them in finding the movements that create the sounding performance. Technique is no longer a basket of functional skills but the ability to use a genuine and original voice. As an original and organic process, musical performance needs to be learnt through freedom of thought. Naturally freedom of thought requires structures. It is here where so-called technical work becomes important and conditionally relevant. A teaching demonstrating with a student will show how this thinking applies at all levels of our methodology.

https://www.eventbrite.com.au/e/string-forum-freedom-to-play-tickets-46062415926